Focusing on the body as a site of rupture and signification, this book shifts the paradigm for the study of modernity in the Arab context from questions of representation, translation, and cultural exchange to an engagement with a genealogy of symptoms and affects embodied in texts from the nineteenth-century onward.

Leor Halevi tells the story of the Islamic trials of technological and commercial innovations of the late nineteenth and early twentieth centuries. Shedding light on culture, commerce, and consumption in Cairo and other colonial cities, Modern Things on Trial is a groundbreaking account of Islam's material transformation in a globalizing era.

Arab nationalism has been one of the dominant ideologies in the Middle East and North Africa since the early twentieth century. However, a clear definition of Arab nationalism, even as a subject of scholarly inquiry, does not yet exist. Arab Nationalism sheds light on cultural expressions of Arab nationalism and the sometimes contradictory meanings attached to it in the process of identity formation in the modern world. It presents nationalism as an experienceable set of identity markers – in stories, visual culture, narratives of memory, and struggles with ideology, sometimes in culturally sophisticated forms, sometimes in utterly vulgar forms of expression. Drawing upon various case studies, the book transcends a conventional history that reduces nationalism in the Arab lands to a pattern of political rise and decline. It offers a glimpse at ways in which Arabs have constructed an identifiable shared national culture, and it critically dissects conceptions about Arab nationalism as an easily graspable secular and authoritarian ideology modeled on Western ideas and visions of modernity. This book offers an entirely new portrayal of nationalism and a crucial update to the field, and as such, is indispensable reading for students, scholars and policymakers looking to gain a deeper understanding of nationalism in the Arab world.

This book provides a clear and authoritative introduction to the emerging Arab media industries in the context of globalization and its impacts, with a focus on publishing, press, broadcasting, cinema and new media. Through detailed discussions of the regulation and economics of these industries, the authors argue that the political, technological and cultural changes on the global media scene have resulted in the reorganization of the Arab media field. They provide striking examples of this through the particular effects on media policies, media technology and the content and genres developed for the new generation of media consumers. As part of the book's overview of the contemporary characteristics of Arab media, the authors outline the development of the role of modern Arab media from a tool of mobilizing the public to a tool of commercial and symbolic profit. Overall, the volume illustrates how the Arab region represents a unique case where the commercialization and liberalization of selected media industries has gone hand in hand with continuous state intervention and an increasing self censorship. Written for students without prior knowledge of the topic, Arab Media will be essential reading for all interested in the contemporary global media industries.

How digital media are transforming Arab culture, literature, and politics In recent years, Arab activists have confronted authoritarian regimes both on the street and online, leaking videos and exposing atrocities, and demanding political rights. Tarek El-Ariss situates these critiques of power within a pervasive culture of scandal and leaks and shows how cultural production and political change in the contemporary Arab world are enabled by digital technology yet emerge from traditional cultural models. Focusing on a new generation of activists and authors from Egypt and the Arabian Peninsula, El-Ariss connects WikiLeaks to The Arabian Nights, Twitter to mystical revelation, cyberattacks to pre-Islamic tribal raids, and digital activism to the affective scene-making of Arab popular culture. He shifts the epistemological and historical frameworks from the postcolonial condition to the digital condition and shows how new media challenge the novel as the traditional vehicle for political consciousness and intellectual debate. Theorizing the rise of “the leaking subject” who reveals, contests, and writes through chaotic yet highly political means, El-Ariss investigates the digital consciousness, virality, and affective forms of knowledge that jolt and inform the public and that draw readers in to the unfolding fiction of scandal. Leaks, Hacks, and Scandals maps the changing landscape of Arab modernity, or Nahda, in the digital age and traces how concepts such as the nation, community, power, the intellectual, the author, and the novel are hacked and recoded through new modes of confrontation, circulation, and dissent.

Zaynab, first published in 1913, is widely cited as the first Arabic novel, yet the previous eight decades saw hundreds of novels translated into Arabic from English and French. This vast literary corpus influenced generations of Arab writers but has, until now, been considered a curious footnote in the genre's history. Incorporating these works into the history of the Arabic novel, Stranger Fictions offers a transformative new account of modern Arabic literature, world literature, and the novel. Rebecca C. Johnson rewrites the history of the global circulation of the novel by moving Arabic literature from the margins of comparative literature to its center. Considering the wide range of nineteenth- and early twentieth-century translation practices—including "bad" translation, mistranslation, and pseudotranslation—Johnson argues that Arabic translators did far more than copy European works; they authored new versions of them, producing sophisticated theorizations of the genre. These translations and the reading practices they precipitated form the conceptual and practical foundations of Arab literary modernity, necessitating an overhaul of our notions of translation, cultural exchange, and the global. Examining nearly a century of translations published in Beirut, Cairo, Malta, Paris, London, and New York, from Qiat Rūbinun Kurūzī (The story of Robinson Crusoe) in 1835 to pastiched crime stories in early twentieth-century Egyptian magazines, Johnson shows how translators theorized the Arab world not as Europe's periphery but as an alternative center in a globalized network. Stranger Fictions affirms the central place of (mis)translation in both the history of the novel in Arabic and the novel as a transnational form itself.

In the 1820s, Rifa'a Rafi' al-Tahtawi, a young Muslim cleric, was a leading member of the first Egyptian educational mission to Paris, where he remained for five years, documenting his observations of European culture. His account, Takhlis al-Ibriz fi Talkhis Bariz, is one of the earliest and most influential records of the Muslim encounter with Enlightenment-era European thought, introducing ideas of modernity to his native land. In addition to its historical and literary value, al-Tahtawi's work offers invaluable insight into early conceptions of Europe and the 'Other'. Its observations are as vibrant and palpable today as they were over 150 years ago; informative and often acute, to humorous effect. An irrefutable classic, this new edition of the first English translation is of seminal value. It is introduced and carefully annotated by a scholar fluent in the life, times and milieu of its narrator. 'An Imam in Paris lets us share the responses of a highly intelligent scholar ... Daniel L. Newman is to be congratulated on making the first translation into English of this remarkable book, and on supporting the text with a first-class introduction and with footnotes that are as full as one could wish.' Times Literary Supplement 'A touchstone for thinking about the tangled relations between Islam and modernity' Jewish Quarterly '[A] fine translation ... extensively and meticulously notated' The International History Review

From Fouad Ajami, an acclaimed author and chronicler of Arab politics, comes a compelling account of how a generation of Arab intellectuals tried to introduce cultural renewals in their homelands through the forces of modernity and secularism. Ultimately, they came to face disappointment, exile, and, on occasion, death. Brilliantly weaving together the strands of a tumultuous century in Arab political thought, history, and poetry, Ajami takes us from the ruins of Beirut's once glittering metropolis to the land of Egypt, where struggle rages between a modernist impulse and an Islamist insurgency, from Nasser's pan-Arab nationalist ambitions to the emergence of an uneasy Pax Americana in Arab lands, from the triumphalism of the Gulf War to the continuing anguished debate over the Israeli-Palestinian peace accords. For anyone who seeks to understand the Middle East, here is an insider's unflinching analysis of the collision between intellectual life and political realities in the Arab world today.

Arab Modernism as World Cinema explores the radically beautiful films of Moroccan filmmaker Moumen Smihi, demonstrating the importance of Moroccan and Arab film cultures in histories of world cinema. Addressing the legacy of the Nahda or “Arab Renaissance” of the nineteenth and early twentieth century—when Arab writers and artists reenergized Arab culture by engaging with other languages and societies—Peter Limbrick argues that Smihi’s films take up the spirit of the Nahda for a new age. Examining Smihi’s oeuvre, which enacts an exchange of images and ideas between Arab and non-Arab cultures, Limbrick rethinks the relation of Arab cinema to modernism and further engages debates about the use of modernist forms by filmmakers in the Global South. This original study offers new routes for thinking about world cinema and modernism in the Middle East and North Africa, and about Arab cinema in the world.

Re-orienting Modernism in Arabic and Persian Poetry is the first book to systematically study the parallel development of modernist poetry in Arabic and Persian. It presents a fresh line of comparative inquiry into minor literatures within the field of world literary studies. Focusing on Arabic-Persian literary exchanges allows readers to better understand the development of modernist poetry in both traditions and in turn challenge Europe's position at the center of literary modernism. The argument contributes to current scholarly efforts to globalize modernist studies by reading Arabic and Persian poetry comparatively within the context of the Cold War to establish the Middle East as a significant participant in wider modernist developments. To illuminate profound connections between Arabic and Persian modernist poetry in both form and content, the book takes up works from key poets including the Iraqis Badr Shakir al-Sayyab and Abd al-Wahhab al-Bayati and the Iranians Nima Yushij, Ahmad Shamlu, and Forough Farrokhzad.